Paul Thek

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Paul Thek
Diver

 
The incredible Paul Thek monograph, published by Yale University Press in 2010 to accompany Thek’s first retrospective in the United States, at the Whitney Museum in New York.

An American sculptor, painter, and installation artist, Paul Thek (1933–1988) is primarily known for hyper-realistic works of human body parts executed in fleshlike beeswax and for his strongly symbolic, room-size installations constructed from transitory materials. A major figure on the 1960s New York art scene, Thek also spent time in Europe, where he paved the way for artists adopting collaborative strategies. Although he gained a large following and was featured in more than one hundred solo and group exhibitions, the anti-establishment “artist’s artist” was practically forgotten at the time of his death. Major exhibitions abroad and critical attention from younger artists have done much to revive his reputation, and Paul Thek: Diver expands on those efforts by bringing the artist’s resounding influence on the art world up to date. Published to accompany Thek’s first retrospective in the United States, this landmark publication includes nearly 300 chronologically arranged illustrations of sculptures, paintings, prints, and other works featured in the exhibition as well as four special “in-depth” image sections focusing on key installations, projects, and pages from the artist’s journals. An extensive selection of documentary photographs, many never before published, illuminate Thek’s artistic aesthetic and production process. With a bibliography, exhibition history, and checklist of works in the exhibition, this overdue acknowledgment of Thek’s brief, but broad-reaching career will be the authoritative volume on the artist for years to come.

Edited by Lynn Zelevansky and Elisabeth Sussman, Contributions by George Baker, David Breslin, Carol Mancusi-Ungaro, Eleonora Nagy, Susanne Neubauer, Michael Nickel, Scott Rothkopf, Ann Wilson

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Foul Perfection : Essays and Criticism
by Mike Kelley

The work of artist Mike Kelley (b. 1954) embraces performance, installation, drawing, painting, video, and sculpture. Drawing distinctively on high art and vernacular traditions, including historical research, popular culture, and psychology, Kelley came to prominence in the 1980s with a series of sculptures composed of craft materials. His recent work offers dialogues with architecture and with repressed memory syndrome, and a sustained inquiry into his own aesthetic and social history. The subjects on which Kelley has written are as varied as his artistic media. They include the work of fellow artists, sound, caricature, the uncanny, UFOlogy, and gender-bending.

This book offers a diverse collection of Kelley’s writings from the last twenty-five years. It contains major critical texts on art, film, and the wider culture, including his piece on the aesthetic he calls “urban Gothic.” It also contains essays, mostly commissioned for exhibition catalogs and journals, on the artists and groups David Askevold, Öyvind Fahlström, Douglas Huebler, John Miller, Survival Research Laboratories, and Paul Thek, among others. Kelley’s voices are passionate, analytic, and ironic, and his critical intelligence is leavened with touches of whimsy.

Reviews
“This collection proves that [Kelley] has not only helped write history but has had an effect on it.” — Diedrich Diederichsen, Artforum

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Paul Thek
Tales the Tortoise Taught Us

Paul Thek (1933 – 1988) is the epitome of an ‘artist’s artist’ whose influence extends through to recent generations. This comprehensive exhibition comprising over 300 works and ranging across all periods of his artistic creativity, is concerned with the phenomenal influence his work continues to exert on contemporary art and his historical significance: from legendary outsider to the central figure of an art movement.

In their anti-heroic diversity and multimediality, and with their references to art, literature, and religion, his works (painting, photography, video, sculpture and installations) are among the central sources for the revolt and eruption of art in the 1960s. Published to accompany the exhibition at ZKM Karlsruhe and Sammlung Falckenberg Hamburg in 2008.

English text.

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Cosima Von Bonin
HIPPIES USE SIDE DOOR. THE YEAR 2014 HAS LOST THE PLOT

HIPPIES USE SIDE DOOR. THE YEAR 2014 HAS LOST THE PLOT, includes more than 100 works by Cosima von Bonin, ranging from her earliest to completely new works.

This retrospective exhibition also shows how von Bonin’s work has moved more and more in the direction of installations that increasingly come to take possession of the space they are placed in.

Another typical feature of her work is a complex network of relations between the fine arts and music that she has established, including longstanding colleagues and friends in her exhibition projects.

At mumok Vienna, Tocotronic and Phantom Ghost accompany the exhibition with concerts, and two further new formations from von Bonin’s circle of friends and acquaintances, The 3 Ypsilons and The Ypsilon Five, perform at the exhibition. The mumok museum facade gains a new balcony for this exhibition, with a figure standing on it and retching.

Appearances by Isa Genzken, Mike Kelley, Carl Andre, Martin Kippenberger, Christophe Verfaille, Okka-Esther Hungerbühler, Cady Noland, Helmut Baar, Colin de Land, Paul Thek, Michael Krebber…

Published on the occasion of the exhibition Cosima von Bonin: HIPPIES USE SIDE DOOR. THE YEAR 2014 HAS LOST THE PLOT at mumok, Vienna, 4 October 2014 – 18 January 2015.

Edited by Karola Kraus
Texts by Clara Drechsler, Diedrich Diederichsen, Manfred Hermes.

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